Musicología de la Música Electroacústica [MME]

Dicho de un modo simple, la musicología es el estudio de la música. La musicología electroacústica es, entonces, el estudio de la música electroacústica. Se puede subdividir en tres áreas que se superponen parcialmente: estudios musicales etnoelectroacústicos, históricos, y sistemáticos.

El área histórica ve a la música diacrónica y sincrónicamente, tomando en cuenta, cuando corresponda, diversos aspectos de la musicología sistemática y la tecnología. El foco de la investigación es la música misma, de las formas más esotéricas a las mas populares.

Los estudios musicales etnoelectroacústicos se relacionan con el impacto de esta música sobre nuestra escucha, sobre nuestra cultura auditiva, así como sobre nuestra relación con todos los sonidos que nos rodean.

Finalmente, el área sistemática está formada por un conjunto de subáreas, muchas de ellas enfocadas hacia aspectos teóricos, aunque no exclusivamente. La siguiente lista cubre un amplio número de temas relevantes:

- nuevas teorías relacionadas con el arte sonoro
- categorización de sonidos (a nivel micro y macro)
- familias de enfoques/obras
- (re)síntesis del sonido
- manipulación del sonido
- análisis espectral
- espectromorfología
- nuevos instrumentos
- interactividad/interfaces para la interpretación
- nuevos protocolos para el control digital de sonido
- nuevos abordajes a la interpretación (contextos)
- multimedia
- sonido y espacio/acústica
- nuevas notaciones/representaciones
- nuevas formas de análisis
- ordenamiento de sonidos (a nivel micro)
- ordenamiento de grandes entidades musicales electroacústicas (a nivel macro)
- inteligencia artificial
- modos de escucha/percepción
- psicoacústica/cognición/semiótica
- archivado de información
- estética/filosofía/crítica

(Fuente: Leigh Landy (1999). Reviewing the Musicology of Electroacoustic Music. Organised Sound Vol. 4, No. 1. Cambridge: Cambridge University Press: 61-70)

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

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ASUAR, José Vicente (1959). En el umbral de una nueva era musical (At the doorstep of a new musical era)
ASUAR, José Vicente (1963). Música electrónica: poética musical de nuestros días (Electronic music: musical poetics of nowadays)
ASUAR, José Vicente (1972a). Música con Computadores: ¿cómo hacerlo..? (Music with computers: how to do it..?)
ASUAR, José Vicente (1975). Recuerdos (Memories)
Atkinson, Simon, Landy, Leigh (2004). The ElectroAcoustic Resource Site (EARS): Philosophy, foundation and aspirations
Battier, Marc (2004). Electroacoustic Music Studies and the Danger of Loss
Battier, Marc, Landy, Leigh (2004). Electroacoustic Musics: A century of innovation involving sound and technology - resources, discourse, analytical tools
Battistelli, Giorgio (1995). Tecnologia e drammaturgia (Technology and dramaturgy)
BÉHAGUE, Gerard (1983). La música en América Latina (Music in Latin America)
Bernardini, Nicola, Vidolin, Alvise (1995). Piccola economia della musica elettronica (The micro-economics of electronic music)
BLANCO, Juan (2001). Para una historia de la música electroacústica en Cuba (For a history of the electroacoustic music in Cuba)
Boulez, Pierre (1986). Technology and the Composer
Chadabe, Joel (1997b). Electric Sound: The Past and Promise of Electronic Music
CLARO, Samuel (1965). Panorama de la música experimental en Chile (Panorama of experimental music in Chile)
Cox, Christoph, Warner, Daniel (2004). Audio Culture: Readings in Modern Music
Dal Farra, Ricardo (2003). Electroacoustic music in Latin America
Dal Farra, Ricardo (2003a). Historical aspects of Electroacoustic Music in Latin America: From the Pioneering to the Present Days
Dal Farra, Ricardo (2006a). A Journey of Sound through the Electroacoustic Wires. Art and New Technologies in Latin America (Un voyage du son par les fils électroacoustiques : L’art et les nouvelles technologies en Amérique Latine)
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Durante, Sergio, Zattra, Laura (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)
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GENTILUCCI, Armando (1972 (reprinted 1983 4th ed., 1990 9th ed.)). Introduzione alla Musica Elettronica (Introduction to electronic music)
Giomi, Francesco (2002). Scuole storiche italiane di musica elettronica (Historical electronic music schools in Italy)
Giorgio, Battistelli (1995). Tecnologia e drammaturgia (Technology and dramaturgy)
Heifetz, Robin Julian (Ed.) (1989b). On the Wires of Our Nerves: The Art of Electroacoustic Music
HERRERA, Silvia (2005). Gabriel Brncic: Un primer acercamiento hacia el compositor y maestro chileno en el exilio (Gabriel Brncic: A first approach to the Chilean composer and maestro in his exile)
Hodgkinson, Tim (2001). An Interview with Pierre Schaeffer
Justel, Elsa (2000). The Formal structures in the music of electronic production
Kahn, Douglas, Whitehead, Gregory (Eds.) (1993). Wireless Imagination: Sound, Radio, and the Avant-Garde
Kugel, Peter (1990). Myhill’s Thesis: There’s More than Computing in Musical Thinking
Landy, Leigh (1999a). Reviewing the Musicology of Electroacoustic Music: A plea for greater triangulation
Landy, Leigh (1999b). Heightening Access and Cohesion within the Worlds of Electroacoustic Music: The Promotion of Triangulation in Creativity, Development and Scholarship
Landy, Leigh (2006c). Electroacoustic Music Studies and Accepted Terminology: You can’t have one without the others
Landy, Leigh (2007a). Understanding the Art of Sound Organization
Landy, Leigh (2007b). La musique des sons/The Music of Sounds
Landy, Leigh (2007c). The ElectroAcoustic Resource Site (EARS) Approaches Its Next Phase: Going global and addressing the young
Landy, Leigh (2007d). The ElectroAcoustic Resource Site (EARS)
Landy, Leigh, Atkinson, Simon (2003b). Introducing the ElectroAcoustic Resource Site (EARS)
LINTZ MAUÉS, Igor (1989). Música Eletroacústica no Brasil. Composição utilizando o meio eletrônico (1956 - 1981) (Electroacoustic Music in Brazil: Composition using the electronic media (1956 - 1981))
LOCATELLI DE PÉRGAMO, Ana María (1973). La notación de la música contemporánea (The notation of contemporary music)
Manning, Peter (2004). Electronic and Computer Music - Revised and Expanded Edition
MORAWSKA-BüNGELER, Marietta (1988). Schwingende Elektronen. Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunks in Köln 1951-1986 (Swinging Electrons. A Documentation of the Electronic Music Studio at the WDR Cologne 1951-1986.)
ODGERS, Alejandra (2000). La Música Electroacústica en Mexico (Electroacoustic Music in Mexico)
PARASKEVAÍDIS, Graciela (2000). Eduardo Bértola. Un retrato del compositor argentino (1939-1996) (Eduardo Bértola. A portrait of the Argentinean composer (1939-1996))
PAVÓN SARRELANGUE, Raúl (1981). La Electrónica en la Música ... y en el Arte (Electronics in Music ... and the Arts)
POUSSEUR, Henri (1976). La musica elettronica (Electronic music)
Risset, Jean-Claude (1999c). Évolution des outils de création sonore
ROCHA ITURBIDE, Manuel (2004). Cronología Comparada de la Historia de la Música Electroacústica en Mexico (Correlated Chronology of Mexican Electroacoustic Music History)
Schafer, R. Murray (1994). The Soundscape: Our Sonic Environment and the Tuning of the World
SCHATT, Peter W. (2005). L’arte della transizione : funzioni dell’elettronica in {Mixtur} di Karlheinz Stockhausen (The art of transition: electronic functions in {Mixtur} by Karlheinz Stockhausen)
SEGNINI-SEQUERA, Rodrigo (1994). Comprender la música electroacústica y su expresión en Venezuela (To understand electroacoustic music and its expression in Venezuela)
SOSA, Rogelio (2004). Nuevas poéticas electroacústicas (New electroacoustic poetics)
TAMBURINI, Alessandro (1988). Il calcolatore e la musica : informatica musicale, compositore e pubblico (The computer and music: computer music, composers and the public)
UNGEHEUER, Elena (1992). Wie die elektronische Musik »erfunden« wurde...Quellenstudien zu Werner Meyer-Epplers Entwurf zwischen 1949 (How Electronic Music was “Discovered”…Source study of Werner Meyer-Eppler’s Plan between 1949 and 1953)
Vidolin, Alvise (1995). Documentazione, conservazione e restauro dei beni musicali elettronici (Conservation, documentation and restoration of electronic musical assets)
Wishart, Trevor (1996a). On Sonic Art - Revised Edition
WOLL, Thomas (1994). Nacionalismo ex machina. Zur Geschichte der elektroakustischen Musik in Mexiko (On the History of Electroacoustic Music in Mexico)
Zattra, Laura, Durante, Sergio (eds.) (2002). Vent’anni di musica elettronica all’università di Padova. Il Centro di Sonologia Computazionale (20 years of electronic music at Padua University. The Centro di Sonologia Computazionale)

 

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